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The Partition of 1947 is often likened to an "ugly divorce." When a reporter asked Rattanbai, wife of Pakistan's future leader Jinnah, about her plans for their Aurangzeb Road home, she scoffed, assuring she would still visit. Shortly after, Nehru declared, "There is no room for Jinnah in Delhi." The house was sold and now serves as the residence of the Dutch Ambassador. The couple never returned to India—a bitter consequence of that 'ugly divorce.' This ashen consequence of the Partition had a wide-reaching effect. On that frightful night of August 1947, "at the stroke of the midnight hour," when several Sindhis fled their homes, they locked their havelis and handed the keys to their neighbours for safekeeping. Unaware of the storm ahead, they never imagined that the Partition would sever the subcontinent and they'd never return. In dedication to the brutal exodus, lost lives and untold tales, the Partition Museum in Delhi witnessed a momentous occasion with the inauguration of "The Lost Homeland of Sindh" gallery. The new corridor at the museum offers a unique glimpse into the lives, struggles, and resilience of the Sindhi community that was displaced during the 1947 Partition.
The gallery’s curation attempts to reconstruct the Sindhi heritage, weaving together traditional art, crafts, architecture and oral histories. The Lost Homeland of Sindh pays tribute to the resilient, enterprising ancestors who lost everything in the Partition of 1947 yet rebuilt their lives in foreign lands through sheer resourcefulness, skill and business acumen. Through the resources at its disposal, along with contributions from people, archival material, and contemporary art, the gallery offers a dynamic narrative of a displaced culture that has integrated and thrived in its new forms across the globe.
Lady Kishwar Desai, the founder of the Partition Museum, laid particular stress on it being a ‘people’s museum’ as large sections of the new corridor came about from the efforts of people explaining that it was a “restless museum which will never be completed” as there are 20 million people out there whose families remain dislocated from the time of the Partition. She added that the aim is to sustain it as an ever-evolving process of getting together those stories, narratives and objects and honouring them at the museum.
The gallery is a smorgasbord of history and art. Upon entering, visitors are greeted by a map of the River Indus and the Sindhi Global Banking and Merchant Networks, leading them through a meticulously recreated Sindhi haveli, complete with balconies known as Muhari, typical of Shikarpur’s vernacular architecture. Intricately carved door frames and railings evoke memories of ancestral homes left behind in Sindh, while personal artefacts donated by former refugees—like a Bukhara carpet and a traditional Sindhi wooden swing, the peengho—add an intimate, heartfelt touch.
A standout feature is the display of Ajrak, an ancient block-printing technique whose roots are traced to the Indus Valley Civilisation. A beautifully embroidered map of Sindh adorned with mirror work narrates the story of this timeless craft. The exhibition also includes a clip from Abana (1956), the first Sindhi-language film celebrating the enduring spirit of resilience among refugees.
The gallery also provides a vibrant space for younger generations to engage with their heritage through multimedia displays, including a 45-minute virtual tour of Sindh that highlights its stunning landscapes, historical sites and cultural landmarks.
Another noteworthy element is the Freedom Fighters Panel, researched by Nandita Bhavnani and Saaz Aggarwal, which pays tribute to the contributions of Sindhi freedom fighters. Complementing the panel is a moving video created by the acclaimed artist group CAMP, which delves into the Sindhi experience during and after the Partition.
With such diverse use of multimedia such as video interviews, films, and immersive displays, “the gallery turns into a living space, a place where people can engage, learn and reflect on a pivotal chapter in our history,” Desai noted.
In the opening of ‘The Lost Homeland of Sindh’ gallery a recurrent stress came forth on the idea of resilience presenting the refugees of the Partition not just as victims and survivors but as resilient masses. The mass displacement of 1947 left an indelible mark on India’s history, and ‘The Lost Homeland of Sindh’ provides a space for remembrance and recognition.
Shri Jitu Virwani, Chairman & Managing Director of the Embassy Group, for whom the event was a tribute to the indomitable spirit of the Sindhi diaspora, noted gloriously that “This gallery is not just a monument to the past—it’s a celebration of the Sindhi spirit, which has not only survived but thrived across the globe.”
As to how Delhites might expect the gallery to expand, Desai responded that “now we will be working on some galleries as people are coming forward and giving us more material all the time.” Reflecting on her journey from scratch, she expressed pleasure in seeing how significant portions of the museum have grown organically from a single dream. By the end, she concluded that it’s safe to say it’s best left in the hands of the people, as they are the true architects of their own past.
Summarily, the gallery housed within the historic Dara Shikoh Library in Old Delhi, is a significant addition to the Partition Museum’s narrative. It joins the broader story of India’s journey to independence and the aftermath of Partition, offering a space where memory, history and identity converge.
Address: Partition Museum, Ambedkar University, Dara Shikoh Library, Lothian Rd, Delhi, 110006
Timings: Tuesday to Sunday, 10 am to 5 pm
